Fecha actual 18 Jun 2019 11:04

Todos los horarios son UTC + 1 hora [ DST ]




Nuevo tema Responder al tema  [ 735 mensajes ]  Ir a página Anterior  1 ... 45, 46, 47, 48, 49
Autor Mensaje
 Asunto: Re: Ópera completa en youtube: links
NotaPublicado: 05 Nov 2018 0:06 
Desconectado
Segundo atril
Segundo atril

Registrado: 25 Sep 2016 2:42
Mensajes: 145
Uno de los comentarios del vídeo de Youtube que ha colgado usted, da esa explicación.
La verdad es que no me la creo mucho....
Pero si es verdad, tambien demuestra que "en su casa" no la consideraban ndiscutible.

Ahora en 2018, podemos elucubrar,...
Era Adriana Lecouvreur un papel para Rosa Ponselle?
Cuáles serían sus acompañantes ideales en 1940 y cuáles serían los que hubiera contratado el Met?
Contestando a preguntas cómo estás se puede ver la verdadera riqueza de cantantes de la época.

_________________
La temporada era tan mala que una noche forzaron la taquilla para devolver cuatro abonos.


Arriba
 Perfil  
 
 Asunto: Re: Ópera completa en youtube: links
NotaPublicado: 05 Nov 2018 12:56 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 30 Oct 2008 19:23
Mensajes: 2409
Ubicación: Burgos.
Ponselle habló sobre el tema de Adriana Lecouvreur en una entrevista radiofónica de Boris Goldovsky a la soprano emitida el 27 de marzo de 1954 (en el intermedio de un broadcast de Norma protagonizado por Zinka Milanov). En libro "Saturday afternoons at the old Met" (p. 330), Paul Jackson transcribe parte de esa entrevista:

"I had studied it thoroughly. I thought it would be a good part for me and a succesful production for the house. Then somebody came up with a box-office report from 1908 when the work had last been done in New York by Caruso and Cavalieri... For some reason it had not been a financial success. So they refused me. This was one of the real dissapointments of my career".

También en el libro de Mary Jane Phillips-Matz "Rosa Ponselle. American diva" (p. 278), aparece un testimonio de la soprano sobre el asunto:

I told them I would sing in Don Giovanni, Gioconda, Carmen and [even] four of five operas for nothing, if they would only give me Adriana. They refused. What hurt me more -it was the first time in my career that I asked them for something!... So the next season [1937-38] the Met opened without me. They did not believe that I was no returning, so they kept my name on the roster. I insisted that they remove it, but they never did. The following year [1938-39] they came to me with a "let bygones be bygones" story and offered me not only Adriana but any other operas I wanted. But by then it was too late. I had begun a new life and no longer wanted to return to the rigors of an operatic career.


Jugando a la ópera-ficción :P, creo que el Met de finales de la década de 1930 tenía medios de sobra para montar una Adriana Lecouvreur protagonizada por Rosa Ponselle. El papel de la Princesa de Bouillon podría habérsele asignado a la mezzo Bruna Castagna, recien llegada al Met. Para Michonnet se me ocuren algunos nombres: Lawrence Tibbett, Richard Bonelli y el más modesto John Brownlee. El rol de Maurizio lo habrían defendido con solvencia tenores de la casa como Charles Kullman, Armand Tokatyan, Frederick Jagel e incluso un maduro Giovanni Martinelli. Y a la batuta, Gennaro Papi, director de larga trayectoria metropolitana.

_________________
Anche l' idea muor, tu non muori giammai,
tu, l' Eterna canzon!


Arriba
 Perfil  
 
 Asunto: Re: Ópera completa en youtube: links
NotaPublicado: 05 Nov 2018 23:54 
Desconectado
Segundo atril
Segundo atril

Registrado: 25 Sep 2016 2:42
Mensajes: 145
Yo creo que hubiera sido Ponselle-Tokatyan-Kaskas-Brownlee. Inferior a casi todo lo que se dio en la temporada 1937-38 en el (tradicionalmente poco innovador) Met.

_________________
La temporada era tan mala que una noche forzaron la taquilla para devolver cuatro abonos.


Arriba
 Perfil  
 
 Asunto: Re: Ópera completa en youtube: links
NotaPublicado: 15 Dic 2018 14:18 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 30 Oct 2008 19:23
Mensajes: 2409
Ubicación: Burgos.
La Aida metropolitana de 1937 con un sonido bastante bueno para la época:

https://www.youtube.com/watch?v=qWOvo88etHo

Metropolitan Opera House
February 6, 1937 Matinee Broadcast

AIDA {409}
Giuseppe Verdi--Antonio Ghislanzoni

Aida....................Gina Cigna [Debut]
Radamès.................Giovanni Martinelli
Amneris.................Bruna Castagna
Amonasro................Carlo Morelli
Ramfis..................Ezio Pinza
King....................Norman Cordon
Messenger...............Giordano Paltrinieri
Priestess...............Thelma Votipka
Dance...................Daphne Vane
Dance...................William Dollar

Conductor...............Ettore Panizza


Review of Olin Downes in The New York Times

GINA CIGNA MAKES OPERA DEBUT HERE

Former La Scala Soprano Well Received in Part of Aida at the Metropolitan

NORMA ONE OF HER ROLES

Singing in Verdi Work Wins for Her Many Curtain Calls - Martinelli in Cast

Gina Cigna, recently of La Scala and also of leading opera houses in Europe and South America, made her début in this country yesterday afternoon as Aida in the Metropolitan Opera House. She was very well received, and her appearance gave notice that the Metropolitan has in her a new soprano well equipped by the quality of her voice and the resources of her technique to do justice to this great role.

Miss Cigna may not unnaturally have felt a degree of strain in performing for the first time before a Metropolitan audience and in an auditorium of proportions and acoustics which have sometimes proved a disconcerting ordeal for experienced singers. She herself quite possibly realized the need here and there for certain vocal adjustments. But she interpreted the Aida part with a complete grasp of its dramatic and lyrical elements, prevailingly with beauty and color of tone, with ample sonority and with the style of a musician. It may also be said that her presence communicated a certain fire and conviction to others of the cast, so that again Verdi's superb music drama was given with the irresistible eloquence inherent in the music.

She Has Necessary Spirit

This impersonation was also remindful of the fact that adequacy, not only of technique but of spirit, is necessary when a great part is to presented in its complete significance. Such airs as "Ritorna vincitor" or "Patria mia" attain a classic nobility of line and intensity of feeling which only an artist aware of the full import of the music communicates. In the final scene there is necessary the sensuous coloring and the fine spinning of tone to do justice to Verdi's song of love for the world well lost

The passage can be given inordinate sentimentality. Miss Cigna, with Giovanni Martinelli, and without sacrificing the fervent. Italianism of the passage, gave it also the intended dignity and poignancy. Her capacities as an artist are promisingly forecast by this performance and also by the rôles which have been announced for her to take here which include that of Norma. There were many curtain calls and shouts of approval for this singer.

Bruna Castagna is Amneris

Mr. Martinelli was in unusually good voice and he kindled to the spirit of Radames's music. Bruna Castagna sang the magnificent part of Amneris with the warmth and dramatic accent which are native to her. It may be that an Amneris of a grander manner would have become the great scene of the fourth act. Something not less impassionate but more towering and a vocal style a little more aristocratic, might have further distinguished the part. However, it lived, and lived intensely; its music had its old-time thrill.

Carlo Morelli's Amonasro won favor. Ezio Pinza sang the part of Ramfis, in which he made his Metropolitan début, and few bring to it such quality of tone. Norman Cordon's High Priest added to his merits. The conductor was Ettore Panizza whose "Aida" reading is one of special effect. The house was packed to its limit, and the occasion charged with enthusiasm.


Review of Marcia Davenport in Stage magazine

Music was the biggest noise in the news over the weekend of February fifth. Within forty-eight hours the announcement of Maestro Toscanini's impending return to America, the debut of Gina Cigna at the Metropolitan, and her delivery of a remarkable vocal broadcast brought your musical reporter to such a state of excitement that she has hardly cooled off enough to apply herself to the present (sober, we hope) writing. This is the time and place, however, to say - as thousands of people have been thinking and saying - that it is possible to get an overdose of Wagner. No lack of honor or appreciation is implied in this. But there are many music-lovers to whom the human voice in all its glory as a unique instrument is a necessary part of a complete musical life. To be sure, fine Wagner is infinitely preferable to indifferent anything else, and fine Wagner we have surely had. But it has been fine by virtue of a few extraordinary singers, and the Italian opera has dwindled and suffered for lack of such singers, not because there is anything wrong with the music. Then all of a sudden a Franco-Italian soprano gives us an Aida that is the genuine article. A huge segment of the musical public, long hungry and doggedly patient, throws its hats a mile in the air, and the Metropolitan is on its way back to Parnassus.

Familiar dramatic fads about music are so old and yet so new. Put one great artist into a routine cast and production and before you know it your routinists will catch fire and deliver something with thrills in it. This happened at the "Aida" of Madame Cigna's debut. She herself was a shade nervous at the beginning, but she had not sung more than a few minutes before it was apparent that she had what it takes. She is intelligent and graceful as an actress; original, too, within the limitations of operatic convention. She has charm, and she has ample command of every phase of her job. But it was along in the third act, during the "Patria Mia," that it struck me I had not heard such technical prowess in a singer in a very long time. Her phrasing is masterly. Like fine bowing, it can command a variety of light and shade, a superb tessitura, all on one ample breath. Her crescendo is often faultless, and from it she can decrease to a vibrant pianissimo, and at the same time drop down a fifth or an octave, sure-footed and pure. This is pretty thrilling stuff, when technical mastery of the throat and diaphragm happens to absorb and excite one as much as perfection with the fiddle and bow. As a musician Cigna is really remarkable, which is demonstrated better by her fine pianissimo than by almost anything else. She is not afraid to use it and she violates no law of music or singing for the sake of effect.

As a voice, Cigna's is not the most moving I have heard, being distinctly of the penetrating Latin kind. It has less of humanity than of scintillance, but it is never white or cold; and the unquestionable truth seems to emerge from all this analysis that the most emotional voices are very apt not to have the finest technique. One can get along without the latter, until something happens to make one thrill all over again to the music of Verdi and Bellini when sung by a real mistress of their exactions. It hits me square in the spine and I am frank to admit that there can be, for me, no comparable thrill in opera. Cigna has her limitations, nearly all of which lie in the middle register; her top is gorgeous - pure, dazzling, and very exciting. Her low register has warmth and much feeling. But the middle sometimes disappoints; here the splendid control is not so evident, and her intelligent capacity for dramatic expression seems to lose somewhat its otherwise firm and definite impact.

_________________
Anche l' idea muor, tu non muori giammai,
tu, l' Eterna canzon!


Arriba
 Perfil  
 
 Asunto: Re: Ópera completa en youtube: links
NotaPublicado: 05 Ene 2019 14:38 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 30 Oct 2008 19:23
Mensajes: 2409
Ubicación: Burgos.
Metropolitan Opera House
March 31, 1945 Matinee Broadcast

IL TROVATORE {226}
Giuseppe Verdi--Salvatore Cammarano

Manrico.................Kurt Baum
Leonora.................Zinka Milanov
Count Di Luna...........Leonard Warren
Azucena.................Bruna Castagna
Ferrando................Nicola Moscona
Ines....................Maxine Stellman
Ruiz....................Lodovico Oliviero
Gypsy...................John Baker

Conductor...............Cesare Sodero

https://www.youtube.com/watch?v=ynhlG7ro0aI

Reseña de Paul Jackson ("Saturday afternoons at the old Met", pp. 357-359):

"The Czech tenor Kurt Baum was another escapee from the European conflict. A half-dozen years of opera appearances in Prague, Vienna, Salzburg, and Monte Carlo had preceded his 1939 debut with the Chicago Opera. After settling in the western hemisphere, his José, Radames, and Manrico were heard in Buenos Aires, Mexico City, and Canada. One might expect a healthy voice froma gentleman who had won tha amateur heavyweight boxing championship of Czechoslovakia -to have one's nose broken in an exhibition bout with Max Schmeling is no mean is no mean recomendation for a tenore di forza.
Alas, the voice proves to be as muscled-bound as the body. What price must one pay for two stentorian high Cs in 'Di quella pira' (the third one turns out to be a B-natural, though Baum, unlike most modern tenors, is singing in the original key)? In any case, the price is too dear: a tight, strangled, unmodulated tone which takes on a bleat in cantabile passages, and pitch suspiciously flat a good deal of the time. The tenor is not devoid of a feeling for the architecture of Verdi's Music -his denunciation of Leonora has not only size but breadth of manner. In fact, his entirely fourth act arouses a dlicker of hope: the voice takes on a bit of color, pitch is relatively faithful, and he conducts the line with care in the reflective duets with Azucena. Whether hope is enough to explain a Metropolitan career of twenty-two seasons is another matter.
A briefer career, but one of far greater import, comes to a close on this broadcast, the final day of the 1944-45 season. Bruna Castagna, since 1935 the stalwart mezzo of the Italian wing, will be heard no more at the Metropolitan; on the season's tour she sings only a single Maddalena in Rigoletto (Harshaw gains the maety assignments). At age forty-seven, Castagna's instrument is no longer quite as resplendent in volume and tonal sheen, but that she was still very much the best of her kind (at least in America -Ebe Stignani was active in Italy) is obvious from this final hearing. Even more impressive than her vocal command is her fully developed characterization. Her Azucena is no mere crazed demon.
Fond memories of Azucena's mountain home, tender regard for her foster son, are the heart of Castagna's portrayal. How well she knows her way around the twists and turns of Azucena's music: the dotted sixteenths of 'Stride la Vampa' are neatly articulated, Verdi's dynamic shadings are carefully observed, and while she hardly ever olays to the gallery, she is alive to the built-in theatrics of the role. Not only is she willing but still able to provide that extra fill-up to a phrase at a climatic moment (a broad allargando and deep portamento, rather old-fashioned but delectable, at the end of the aria). The second-act racconto is touched with sorrow in the tone, compassion and horror skillfully intermingled. Everything is adroitly scaled until she pleads with Manrico before he flees to save Leonora from the convent -there she pulls aout all the strops. Perhaps the size of the voice in the theatre cannot be accurately gauged, but the vocal thrust is obviously potent; an occasional rasp as she eases into the chest voice is the only sign of wear. Her final act is the acme of her performance; there liquid legato, quiet regret, artfully sculpted phrases ('Si la stanchezza'), all combine to produce a childlike aura, as telling as it is simple.
If artists must leave, Castagna does so honorably. She remains, today as then, an underrated artist, never having gained the acclaim which her natural instrument and cultivated style warrant. Her commercial recordings, though splendid, are few in number. In her case the legacy of the aircheck is all-important.
With the exception of Baum, all elements of this performance are on a high level. Moscona is the best of Ferrandos, a mite less scrupulous this time in rhythm, but more overtly dramatic and thereby serving the narrative well. Sodero has shapened the dramatic focus of his concept, retaining classical control but willing to touch the crop to his forces in the home strecht of the ensembles.
As Di Luna, Warren disdains to play the heavy, preferring bel canto as love's weapon. He relishes the high tessitura of the role and breasts any orchestral sonoritywith ease. But 'Il balen' turns out a bit more tremulous that expected, and the notion ligers that all that suave tone and musical rectitude is just a bit self-conscious. One longs for the natural song of a Battistini or Schlusnus or, conversely, Ruffo's direct assault. But then, Warren can caress the ear as weel as play the lion. His voice takes on a lovely color in the duet with Leonora, a discreet foil for Milanov's far-flung phrases. Sodero's newly propulsive manner combines with the vocal richness and idiomatic style of the two singers to provide the afternoon's climax.
Milanov, too, is at her very best. One is tempted to speak of vintage Milanov, but in her case the full flavor of the draft still lies in the future. Nevertheless, her Leonora on this afternoon is the apex of her first Metropolitan career. All her virtues and none of her frailties are on display.
Leonora's great arias can only be fully realized by the poise of voice and repose of phrase which Milanov offers on this occasion. Arioso passages are floated with the utmost delicacy ('come d'aurato sogno'); the low voice is well focused without becoming unduly baritonal for this chaste Verdi heroine; the brief trills are neatly done, and the coloratura flourishes are not only clean but full-throated (with an acceptable high D-flat at the end of the trio and a magnificent high C to close the fourth-act duet); and the three-note phrases which decorate the convent finale are leggierissimo, as Verdi instructed. Unlike many a Leonora, she has the vocal size and fruity middle low voice to sound the anguished lament of the Miserere. Her old bane of agitation almost never causes a suspicion of tonal overblowing.
When interviewed on a broadcast intermission twenty years after her retirement, Madame Milanov remarked truthfully: «Trovatore was my destiny». Vocally, it offered her every opportunity to show her strenghts. And more than any other of her roles, it was dramatically plausiblefor her, not merely from the standpoint of stage action, but also in the projection of character and mood through the voice. Leonora exists in the splendid insolation of the Spainsh donna of the fifteenth century -her vocal reveries epitomize her remoteness. The built-in distance makes entirely credible Milanov's expansive phrasing and stylized expressive devices, so musically satisfying in themselves, as revelation of character. Of course, her Gioconda has dramatic credibility too, but there it is because her outsized vocal gestures complement the mock theatrics of melodrama. Verdi is not Ponchielli. His truth must be taken at face value. As the Trovatore Leonora, Milanov can be not only relished but believed.
After years of struggle, the great soprano may have come into her own. Odd that, after only two more seasons, the Met would no longer welcome her."



Metropolitan Opera House
November 16, 1946 Matinee Broadcast

OTELLO {87}
Giuseppe Verdi--Arrigo Boito

Otello..................Torsten Ralf
Desdemona...............Stella Roman
Iago....................Leonard Warren
Emilia..................Martha Lipton
Cassio..................Alessio De Paolis
Lodovico................Nicola Moscona
Montàno.................William Hargrave
Roderigo................Anthony Marlowe
Herald..................Philip Kinsman

Conductor...............Fritz Busch

https://www.youtube.com/watch?v=aof4LvStuTg

_________________
Anche l' idea muor, tu non muori giammai,
tu, l' Eterna canzon!


Arriba
 Perfil  
 
 Asunto: Re: Ópera completa en youtube: links
NotaPublicado: 10 Ene 2019 18:11 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 30 Oct 2008 19:23
Mensajes: 2409
Ubicación: Burgos.
Metropolitan Opera House
February 9, 1963 Matinee Broadcast

ADRIANA LECOUVREUR {8}

Adriana Lecouvreur......Renata Tebaldi
Maurizio................Franco Corelli
Princess di Bouillon....Biserka Cvejic
Michonnet...............Anselmo Colzani
Bouillon................William Wilderman
Abbé....................Paul Franke
Jouvenot................Laurel Hurley
Dangeville..............Helen Vanni
Duclos..................Audrey Keane
Poisson.................Andrea Velis
Quinault................Norman Scott
Major-domo..............John Trehy
Dance...................Judith Chazin
Dance...................Patricia Heyes
Dance...................Katharyn Horne
Dance...................Igor Youskevitch
Dance...................Ron Sequoio

Conductor...............Silvio Varviso

https://www.youtube.com/watch?v=dC1T1V1zoYk

_________________
Anche l' idea muor, tu non muori giammai,
tu, l' Eterna canzon!


Arriba
 Perfil  
 
 Asunto: Re: Ópera completa en youtube: links
NotaPublicado: 12 Ene 2019 19:46 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 17 Feb 2010 23:50
Mensajes: 3296
Ubicación: Calle Mossén Femades
Una que se le ha escapado al Chino (incluyo al director escénico porque lo merece):

Metropolitan Opera House
December 11, 1993

I LOMBARDI ALLA PRIMA CROCIATA
Giuseppe Verdi - Temistocle Solera

Giselda.................Lauren Flanigan
Oronte..................Luciano Pavarotti
Arvino..................Bruno Beccaria
Pagano..................Samuel Ramey
Viclinda................Inma Egido
Sofia...................Jane Shaulis
Pirro...................Hao Jiang Tian
Acciano.................Jeffrey Wells
Prior...................Anthony Laciura

Violin solo.............Raymond Gniewek

Conductor...............James Levine

Production..............Mark Lamos

https://www.youtube.com/watch?v=8p7vcJkLOA8

_________________
El acento verdiano está en la a.


Arriba
 Perfil  
 
 Asunto: Re: Ópera completa en youtube: links
NotaPublicado: 12 Ene 2019 19:47 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 17 Feb 2010 23:50
Mensajes: 3296
Ubicación: Calle Mossén Femades
Para ir preparando las funciones de Bilbao, que empiezan en breve.

_________________
El acento verdiano está en la a.


Arriba
 Perfil  
 
 Asunto: Re: Ópera completa en youtube: links
NotaPublicado: 15 Ene 2019 16:55 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 30 Oct 2008 19:23
Mensajes: 2409
Ubicación: Burgos.
Metropolitan Opera House
March 13, 1965 Matinee Broadcast

SALOME {68}

Salome..................Birgit Nilsson
Herod...................Karl Liebl
Herodias................Irene Dalis
Jochanaan...............Walter Cassel
Narraboth...............George Shirley
Page....................Marcia Baldwin
Jew.....................Charles Anthony
Jew.....................Robert Nagy
Jew.....................Gabor Carelli
Jew.....................Andrea Velis
Jew.....................Gerhard Pechner
Nazarene................Ernst Wiemann
Nazarene................Calvin Marsh
Soldier.................Justino Díaz
Soldier.................Louis Sgarro
Cappadocian.............William Walker
Slave...................Arthur Graham

Conductor...............Karl Böhm
https://www.youtube.com/watch?v=tyCEVzgAyUI&t


Metropolitan Opera House
February 27, 1971 Matinee Broadcast

ELEKTRA {44}

Elektra.................Birgit Nilsson
Chrysothemis............Leonie Rysanek
Klytämnestra............Jean Madeira [Last performance]
Orest...................Thomas Stewart
Aegisth.................Robert Nagy
Overseer................Carlotta Ordassy
Serving Woman...........Batyah Godfrey Ben-David
Serving Woman...........Shirley Love
Serving Woman...........Gwendolyn Killebrew
Serving Woman...........Judith De Paul
Serving Woman...........Margaret Kalil
Confidant...............Patricia Clarke
Trainbearer.............Mary Fercana
Young Servant...........Leo Goeke
Old Servant.............Harry Shean
Guardian................Richard Best

Conductor...............Karl Böhm
https://www.youtube.com/watch?v=Dey6JcqW6EQ

_________________
Anche l' idea muor, tu non muori giammai,
tu, l' Eterna canzon!


Arriba
 Perfil  
 
 Asunto: Re: Ópera completa en youtube: links
NotaPublicado: 15 Ene 2019 22:35 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 03 Ago 2009 0:14
Mensajes: 11263
Ambas las he escuchado estos días. Están en la caja "Birgit Nilsson, the great live recordings" que me trajeron los Reyes 8)

_________________
"Si me dieran a escoger qué obra firmaría, entre el Parsifal y La Revoltosa, escogería La Revoltosa" (Pablo Sorozábal)


Arriba
 Perfil  
 
 Asunto: Re: Ópera completa en youtube: links
NotaPublicado: 15 Ene 2019 22:51 
Desconectado
Div@
Div@

Registrado: 05 Ago 2007 22:51
Mensajes: 4926
Carl Tunner escribió:
Ambas las he escuchado estos días. Están en la caja "Birgit Nilsson, the great live recordings" que me trajeron los Reyes 8)

2 grabaciones históricas.
( una de las mejores ELEKTRA, con las Nilsson, Rysanek y la despedida de la gran Madeira )
:aplauso: :aplauso:


Arriba
 Perfil  
 
 Asunto: Re: Ópera completa en youtube: links
NotaPublicado: 03 Mar 2019 15:45 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 30 Oct 2008 19:23
Mensajes: 2409
Ubicación: Burgos.
El último broadcast metropolitano de Leonard Warren, quien fallecería unas semanas después:

https://www.youtube.com/watch?v=rDjWfG7fPUQ

Metropolitan Opera House
January 2, 1960 Matinee Broadcast

MACBETH {8}
Giuseppe Verdi--Francesco Maria Piave/Andrea Maffei

Macbeth.................Leonard Warren
Lady Macbeth............Leonie Rysanek
Banquo..................Jerome Hines
Macduff.................Daniele Barioni
Malcolm.................William Olvis
Lady-in-Attendance......Carlotta Ordassy
Physician...............Gerhard Pechner
Manservant..............Carlo Tomanelli
Duncan..................Walter Hemmerly
Murderer................Osie Hawkins
Warrior.................Louis Sgarro
Bloody Child............Teresa Stratas
Crowned Child...........Mildred Allen

Conductor...............Erich Leinsdorf

Director................Carl Ebert
Staged by...............Nathaniel Merrill
Designer................Caspar Neher
Choreographer...........Mattlyn Gavers

Macbeth received five performances this season.


Review of Robert Sabin in the January 15, 1960 issue of Musical America

The Metropolitan's new "Macbeth" returned this season better than ever, with the cast substantially unchanged from last year. Absolutely transcendent were Leonie Rysanek, as Lady Macbeth, and Leonard Warren, in the title role. With sensitive collaboration from Erich Leinsdorf and the orchestra, they not only sang their solo arias magnificently but made such duets as the "Fatal mia donna!" of Act I, Scene 2, incredibly gripping.

I do not think I have ever heard a more consummate control of dynamics and of dramatic emphasis conveyed through intricate vocal figures than in this duet. What good fortune that this was broadcast, so that millions throughout the land could know what great singing is being heard at the Metropolitan today, and that we, too, have our Golden Age of Song.

There were two newcomers to the cast: Daniele Barioni, as Macduff, and Teresa Stratas, as the bloody child who appears to Macbeth in Act III, at the witches' cave. Mr. Barioni sang the "Ah, la paterna mano" movingly, albeit too strenuously; and Miss Stratas brought atmosphere to her brief encounter with Macbeth.

Jerome Hines was again a mellow-voiced and touching figure as Banquo. William Olvis sang with notable vitality as Malcolm. Carlotta Ordassy and Gerhard Pechner, as the Lady-in-Attendance and Physician, contributed to the emotional magic of Miss Rysanek's Sleepwalking Scene. And the others were also in top form: Louis Sgarro (A Warrior), Osie Hawkins (A Murderer), and Mildred Allen (A Crowned Child).

The ballet was of help in making Verdi's weak music for the Witches more palatable, with its grotesque dancing and mime.

Mr. Leinsdorf obtained equally admirable results from the stage and the pit. He has made some changes (mostly to the good) in this season's production. Acts I and II remain the same. But in Act III, he omits the scene between Macbeth and Lady Macbeth, in which she confronts him on the heath after his second encounter with the witches. This is replaced by the slow section of the ballet music, accompanying the appearance of Hecate, which is played as a prelude to Act IV, and eliminates the third intermission. (Since the Metropolitan does not have a revolving stage or other modern devices, the frequent scene changes are a severe problem to the producer).

The silly basket shields and posies in the battle scene, Act IV, Scene 4, have been happily eliminated. The curtain closes while the orchestra plays the battle music. The combat between Macbeth and Macduff is omitted, and Macbeth dies alone on stage. Then the final choral passage with Macduff and Malcolm leads to the end.

The chorus was again deeply impressive, not only in the monumental "Schiudi, inferno, la bocca", of Act I, Scene 2; the choral finale of Act II; and the heart-searching "Patria oppressa," of Act IV, Scene 1; but in the assassin's chorus of Act II, Scene 2, "Chi v'impose unirvi a noi?" In this, the deft pianissimo singing added an ominous touch to what might have seemed trivial.


Arriba
 Perfil  
 
 Asunto: Re: Ópera completa en youtube: links
NotaPublicado: 05 Mar 2019 14:59 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 30 Oct 2008 19:23
Mensajes: 2409
Ubicación: Burgos.
Metropolitan Opera House
March 15, 1958 Matinee Broadcast

TOSCA {381}

Tosca...................Antonietta Stella
Cavaradossi.............Richard Tucker
Scarpia.................Leonard Warren
Sacristan...............Salvatore Baccaloni
Spoletta................Paul Franke
Angelotti...............Norman Scott
Sciarrone...............George Cehanovsky
Shepherd................George Keith [Last performance]
Jailer..................Louis Sgarro

Conductor...............Dimitri Mitropoulos

https://www.youtube.com/watch?v=5I6J_YaKiT0&t


Arriba
 Perfil  
 
 Asunto: Re: Ópera completa en youtube: links
NotaPublicado: 23 May 2019 11:39 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 14 Mar 2011 22:55
Mensajes: 2006
Ubicación: Nibelheim (obviamente)
Tip escribió:
Una que se le ha escapado al Chino (incluyo al director escénico porque lo merece):

Metropolitan Opera House
December 11, 1993

I LOMBARDI ALLA PRIMA CROCIATA
Giuseppe Verdi - Temistocle Solera

Giselda.................Lauren Flanigan
Oronte..................Luciano Pavarotti
Arvino..................Bruno Beccaria
Pagano..................Samuel Ramey
Viclinda................Inma Egido
Sofia...................Jane Shaulis
Pirro...................Hao Jiang Tian
Acciano.................Jeffrey Wells
Prior...................Anthony Laciura

Violin solo.............Raymond Gniewek

Conductor...............James Levine

Production..............Mark Lamos

https://www.youtube.com/watch?v=8p7vcJkLOA8

¡Buff! Es que el Chinito transita caminos arqueológico-operísticos... Ésta es una "modernez" para él...

_________________
"Tornate all'antico e sarà un progresso" (Giuseppe Verdi, compositor y genio).

Esto y otras muchas cosas más en Desde el Nibelheim


Arriba
 Perfil  
 
 Asunto: Re: Ópera completa en youtube: links
NotaPublicado: 23 May 2019 12:20 
Desconectado
Div@
Div@
Avatar de Usuario

Registrado: 30 Oct 2008 19:23
Mensajes: 2409
Ubicación: Burgos.
Alberich el Negro escribió:
Tip escribió:
Una que se le ha escapado al Chino (incluyo al director escénico porque lo merece):

Metropolitan Opera House
December 11, 1993

I LOMBARDI ALLA PRIMA CROCIATA
Giuseppe Verdi - Temistocle Solera

Giselda.................Lauren Flanigan
Oronte..................Luciano Pavarotti
Arvino..................Bruno Beccaria
Pagano..................Samuel Ramey
Viclinda................Inma Egido
Sofia...................Jane Shaulis
Pirro...................Hao Jiang Tian
Acciano.................Jeffrey Wells
Prior...................Anthony Laciura

Violin solo.............Raymond Gniewek

Conductor...............James Levine

Production..............Mark Lamos

https://www.youtube.com/watch?v=8p7vcJkLOA8

¡Buff! Es que el Chinito transita caminos arqueológico-operísticos... Ésta es una "modernez" para él...


No tanto, en 1993 aún había buenos cantantes y funciones en el Met. :P De aquel año conseguí hace tiempo un par de grabaciones muy interesantes: un Trovatore con Aprille Millo, Lando Bartolini, Dolora Zajick y Vladimir Chernov, dirigidos por Nello Santi; y un Rosenkavalier, dirigido por Thielemann, con Anna Tomowa-Sintow de protagonista, en aquella serie de funciones en las que Kathleen Battle debía cantar el papel de Sophie y, por diferencias con el director musical, dió la espantada.

https://www.nytimes.com/1993/01/30/arts ... t-met.html

Si algún día me animo a abrir un hilo del Nuevo Met ya las comentaré. :)

Y fuera del Met, una función muy interesante que he descubierto recientemente:

Gaetano Donizetti (1797-1848) "CATERINA CORNARO"
Direttore d'orchestra........Gianfranco Masini

Caterina Cornaro..............Montserrat Caballé
Gerardo............................Jaume Aragall
Lusignano………………….......Ryan Edwards
Mocenigo..........................Gwynne Howell
Andrea Cornaro….............Claude Meloni
Strozzi/Cavaliere..............Gérard Friedman
Matilde……………………..........Odile Pieti

Choeur Lirique de l’ORTF - Orchestre Lirique de l’ORTF
Salle Pleyel Parigi - 25 novembre 1973

https://www.youtube.com/watch?v=v20qZaHh7rk

_________________
Anche l' idea muor, tu non muori giammai,
tu, l' Eterna canzon!


Arriba
 Perfil  
 
Mostrar mensajes previos:  Ordenar por  
Nuevo tema Responder al tema  [ 735 mensajes ]  Ir a página Anterior  1 ... 45, 46, 47, 48, 49

Todos los horarios son UTC + 1 hora [ DST ]


¿Quién está conectado?

Usuarios navegando por este Foro: No hay usuarios registrados visitando el Foro y 2 invitados


No puede abrir nuevos temas en este Foro
No puede responder a temas en este Foro
No puede editar sus mensajes en este Foro
No puede borrar sus mensajes en este Foro

   
     
Powered by phpBB © 2000, 2002, 2005, 2007 phpBB Group
Traducción al español por Huan Manwë para phpbb-es.com